McLaren 602 preamplifier

McLaren 602 Control Preamplifier

The McLaren 02 component series represents a unique synthesis of art, science and technology - the realisation of a design philosophy dedicated simply to the accurate reproduction of music.

Form, function and performance specifications all express and testify to this basic ideal. But most important is the innate ability of the range to recreate a true musical experience.

The McLaren 602 is a high gain, high resolution "straight line" preamplifier, fully compatible with a wide range of signal sources from low output moving coil cartridges to high output CD players.

Phono gain can be switched for either moving or fixed coil cartridges. Provision is made for optimum cartridge loading. An input buffer precedes the two-stage passive/active RIAA equalisation where particular care and attention has been given to achieving both amplitude and phase accuracy, not only in absolute terms, but to ensure precise matching between channels.

Power supply design also makes a major contribution to performance. Individual stages of each channel have their own locally regulated supplies fed from a central regulated supply incorporating a heavy duty shielded toroidal transformer.

As a result the 602 possesses superlative dynamic and imaging qualities - clearly focused detail revealing the most subtle instrumental and vocal timbres, with a true perception of image depth and height.

The high undistorted output voltage capability of the line stage with an unusually low output impedance, ensures that the 602 will fully drive any power amplifier even via extreme lengths of shielded cable.

Construction is to the highest engineering standards. The case is entirely non-ferrous - faceplate and side blocks are cut and machined from proprietory extruded sections, top and bottom covers coated with an attractive and durable textured finish.

Front fixing screws, nameplate and all input and output sockets on the rear panel are 24-karat gold plated. Control knobs are turned from solid aluminium, satin anodised to harmonise with the front panel.

Internal construction features gain selected semiconductors and highest quality passive components.

Features:

Phono gain adjustable for MC or MM

User-selectable phono loading

Two-stage RIAA equalisation - passive high frequency followed by active low frequency equalisation

Output muting relay to avoid on/off switching transients.

Heavy duty toroidal power transformer.

Individual regulated power supply for each stage

Highest quality components, including: Gain selected semiconductors; Polypropylene/Polystyrene capacitors; metal film resistors; Conductive film potentiometers; Gold plated signal connectors

Star grounding system

Specifications

Input Sensitivities (for rated output, 1 kHz)

Phono MC :  100 µV 

Phono MM :  1,0 mV

High Level, Tape Play :  100 mV

Gain Structire (at 1 kHz)

Phono Section MC :  60 dB

Phono Section MM :  40 dB

Line Section :  20 dB

Input Impedance 

Phono :  47 k Ω  (user selectable to any lower value)

High Level, Tape Play :  50 k Ω 

Signal-to-Noise-Ratio:  (A WTD/UNWTD)

Phono MC :  76 dB/69 dB (ref. 0,5 mV)

Phono MM :  82 dB/74 dB (ref. 5 mV)

High level, Tape Play : 100 dB/94 dB (ref. 500 mV)

Input Overload Levels (at 1 kHz)

Phono MC :  15 mV

Phono MM :  150 mV

High Level, Tape Play :  Infinite

Output Levels:

Rated :  1,0 V

Maximum :  16 V

Output Impedance

Phono Section (Tape Rec) :  100 Ω 

Main Out :  100 Ω 

Frequency Response: 

Phono (RIAA Equ.) :  ±0,2 dB, 20 Hz - 20 kHz

High Level, tape Play :  +0, 1 dB  , 5 Hz - 100 kHz

Balance Control :  ±3 dB each channel

Distortion:  less than 0,015% THD 20 Hz - 20 kHz at rated output, any input/output

Phase

Phono through main out: Noninverting

High level, Tape Play through main out :  Inverting

Phono through Tape Rec :  Inverting

Power Requirements:  110 -120 / 220 -240 VAC, 50/60 Hz, 8 VA

Dimensions (W x H x D):    420 x 105 x 285 mm (16,5" x 4,1" x 11,2")

Weight (shipping):  65 kg (14,3 lbs)

 

Kenwood LS-403 loudspeakers

 Kenwood LS-403 Speaker Systems

All of the new Kenwood LS speakers can be driven with as little 10 watts per channel. Used with a 50-watt=per-channel amplifier, these speaker systems will provide the full dynamic range inherent in today's contemporary music at live sound levels.

Specifications LS-403

Drivers

Woofer:  8"

Tweeter: 1-3/4" dome

Frequency Response:  65 Hz to 20,000 Hz ±5 dB

System Resonance or Tuning:  45 Hz

Nominal/Minimum Impedance:  8 Ω  / 7,8 Ω 

SPL for less than 2% Harmonic Distortion:  101 dB

Typical Distortion Maximum (at any Frequency Above 100 Hz at 100 dB SPL):  2%

Average Acoustic Output at 2,73 V (1W/1m):  88 dB

Crossover Type:  LC

Acoustical Crossover Frequency:  2,000 Hz

Electrical Crossover Frequency:  2,000 Hz

Input Power to produce 90 dB SPL per 1000 Cubic Feet of Room Volume : 1,8

Dimensions (W x H x D):  11-3/4" x 17-3/4" x 8-7/8"

Weight:  20 lbs

Tannoy DC200 loudspeakers

Tannoy DC200

The Tannoy Dual Concentric principle is widely accepted as one of the major technological breakthroughs in the design of loudspeakers.

The Dual Concentric is, in fact, "2-speaker-in one". If you took the grille off any Tannoy Dual Concentric there is what appears to be a single drive unit. Closer examination will show the compression high frequency driver sharing the same chassis as the bass unit. These two separate drive units provide a single xis for the reproduction of sound at all frequencies. The audio signal is supplied to each drive unit by a time compensated crossover, that aligns both high and low frequency sound sources towards a single point on that axis.

The music is clearer and more natural because the real harmonics and dynamics of the instruments and voices are retained, while the stereo image of the original performance is sharper and more convincing.

Tannoy's strong reputation for transducer design within the broadcast and recording industry has been harnessed within the recently designed 10" Dual Concentric used in the DC200.

Both DC's have excellent frequency response and good dispersion, and their ability to reproduce wide dynamics makes them particularly suitable to be used with the latest CD systems.

With the new DC series, the hi-fi enthusiast can experience all the characteristics and benefits of a major studio monitor in a smaller, cleanly styled enclosure.

Specifications DC200

Recommended Amplifier Power (RMS per channel into 8 Ω):  10 to 120 watts

Peak Input Power:  150 watts

Impedance:  8 Ω  (Nominal); 6 Ω  (Minimum)

Sensitivity (for 2,8 V in at 1 metre):  90 dB

Frequency Response:  45 Hz to 20 kHz ± 3 dB

Phase Response:  110 Hz to 10 kHz ±30*

Dispersion (at -6 dB points):  90°    conical

Crossover Frequency:  1,8 kHz

Crossover Type: Hardweired first & damped second order network with paralled impedance compensation

Distortion (for 90 dB at 1 m):  Less than 1% 100 Hz to 10 kHz

Bass Loading:  Single ducted port

Internal Volume:  33 liters

Cabinet Material:  18 mm and 15 mm particle board

Cabinet finish:  Walnut vinlyl veneer

Grille Construction:  Acoustic cloth over timber frame , detachable

Dimensions (HxWxD):  560 x 330 x 265 mm (22" x 13" x 10,4")

Weight:  12,5 kg (27,5 lbs)

 

Tannoy DC100 loudspeakers

Tannoy DC100 

The Tannoy Dual Concentric principle is widely accepted as one of the major technological breakthroughs in the design of loudspeakers.

The Dual Concentric is, in fact, "2-speaker-in one". If you took the grille off any Tannoy Dual Concentric there is what appears to be a single drive unit. Closer examination will show the compression high frequency driver sharing the same chassis as the bass unit. These two separate drive units provide a single xis for the reproduction of sound at all frequencies. The audio signal is supplied to each drive unit by a time compensated crossover, that aligns both high and low frequency sound sources towards a single point on that axis.

The music is clearer and more natural because the real harmonics and dynamics of the instruments and voices are retained, while the stereo image of the original performance is sharper and more convincing.

Tannoy's strong reputation for transducer design within the broadcast and recording industry has been harnessed within the recently designed 8" Dual Concentric drive unit used in the DC100 

Both DC's have excellent frequency response and good dispersion, and their ability to reproduce wide dynamics makes them particularly suitable to be used with the latest CD systems.

With the new DC series, the hi-fi enthusiast can experience all the characteristics and benefits of a major studio monitor in a smaller, cleanly styled enclosure.

Specifications DC100

Recommended Amplifier Power (RMS per channel into 8 Ω):  10 to 100 watts

Peak Input Power:  120 watts

Impedance:  8 Ω  (Nominal); 6 Ω  (Minimum)

Sensitivity (for 2,8 V in at 1 metre):  90 dB

Frequency Response:  53 Hz to 20 kHz ±3 dB

Phase Response:  100 Hz to 10 kHz ±30°   

Dispersion (at -6 dB points):  90°  conical

Crossover Frequency:  1,8 kHz

Crossover Type: Hardwired first & damped second order network with paralled impedance compensation

Distortion (for 90 dB at 1 m):  Less than 1% 100 Hz to 10 kHz

Bass Loading:  Single ducted port

Internal Volume:  20 liters

Cabinet Material:  15 mm and 12 mm particle board

Cabinet finish:  Walnut vinlyl veneer

Grille Construction:  Acoustic cloth over timber frame , detachable

Dimensions (HxWxD):  480 x 267 x 230 mm (19" x 10,5" x 9")

Weight:  8,75 kg (19,25 lbs)

 

JVC VN-900 amplifier

JVC VN-900 amplifier

Features:

220 Watts power output

Power Bandwidth 20 Hz to 20,000 Hz

Phono input load switch

S.E.A. control system

S.E.A. record switch for tape recording

Dual facilities for tape monitoring and tape dubbing

All-stage direct-coupled OCL circuitry

Automatic transistor protector circuitry

Terminals for 4-channel connection

Pink noise generator built-in

Sound Effect Amplifier (S.E.A,)

The Sound Effect AMplifier is a feature unique to JVC which gives you more control over tone than has ever before been possible. it was never found outside professional recording studios before JVC incorporated it in their amplifiers and receivers. The advantages of the S.E.A. system are:

It gives the listener complete control of the tone throughout the entire frequency range.

By adjusting the controls entirely new sounds can be created

Tone can be adjusted to compensate for variations in the transmission system; recording method , type of music, characteristics of your stereo system and the acoustic properties of your room.

Unlike other tone control systems which have only a bass and treble control, the S.E.A. has seven controls. Each of these controls makes it possible to vary the response in a different frequency range. S.E.A. gives a steeper gradient at both the high and low frequency end of the response curve than the conventional system which is limited to 6 dB/oct. The outstanding feature is S.E.A.'s handling of the midrange frequencies. the conventional tone control system controls only the high and low ranges whereas S.E.A. extends this control to cover the whole frequency range.

Specifications

Type:  Solid State Stereo Integrated Amplifier

Semiconductors:  39 Transistors; 14 Diodes;

Inputs: Phono 1 & 2;Aux 1, 2 & 3; Tape-Play 1 & 2; Main IN; 4-Channel Rear In

Outputs: Tape Rec 1 & 2; 2 x Pre-Out; 4-channel Rear Out; Speakers System 1 & 2; Headphones

DIN Socket:  Tape 1, Tape 2

Rear Panel Controls: Phono 1 Cartridge Load select & Level adjust

Power Amplifier Section

IHF Dynamic Power:  

170 W (85 + 85 W) at 8 Ω  load

220 W (110 + 110 W) at 4 Ω  load

Continuous Power RMS

120 W (60 W + 60 W) at 8 Ω  load one channel driven

160 W (80 W + 80 W) at 4 Ω  load one channel driven

100 W (50 W + 50 W) at 8 Ω  load both channel driven

120 W (60 W + 60 W) at 4 Ω  load both channel driven

Power Bandwidth

10 Hz - 23 kHz (8 Ω  load one channel driven, output power 50 W THD 0,25%)

20 Hz - 20 kHz (8 Ω  load both channel driven, output power 50 W THD 0,25%)

Total Harmonic Distortion:  0,05% at rated power (1 kHz)

Intermodulation Distortion: 0,4% at rated power

Frequency Response:  3 Hz - 450 kHz (-3 dB) at 1 W

Damping Factor:  50 Hz at 8 ohm load

Matching Load Impedance:  4 - 16 Ω 

Input Sensitivity for Rated Power:  1 V

Preamplifier Section

Frequency Response:  20 Hz - 50 kHz ±0,5 dB

S.E.A. Controls

Center Frequency :  40; 150; 400; 1,000; 2,400; 6,000; 15,000 Hz

Control Range:  ±12 dB

Input Sensitivity For Rated Power:  

Phono :  2,5 mV

Aux :  200 mV

Tape Playback :  200 mV

Signal-to-Noise-Ratio: 

Phono :  56 dB

Aux :  86 dB

Equalizer:  RIAA (Mag) ±0,5 dB

Phono Overload:  700 mV (p-p) at 1 kHz; 250 mV RMS

Recording Out Level

PIN Jack :  180 mV

DIN Jack :  20 mV

Filters

Subsonic :  18 Hz 12 dB/oct

High :  9 kHz -12 dB/oct

Muting:  -20 dB

Loudness:  at -30 dB point; 1 kHz (+15 dB); 10 kHz (+4 dB);50 Hz (+11 dB)

Pink Noise Generator:  0° , 180° 

Power requirement:  110, 120, 220, 240 V 50/60 Hz

Power Consumption:  230 W

Dimensions (W x H x D):  16-5/8" x 5-3/8" x 12-1/2"

Weight:  28 lbs

 

Tannoy Westminster loudspeakers

Tannoy Westminster

The Tannoy Westminster presents the latest in Dual Concentric technology combined with traditional standards of construction and finish, and is a worthy successor to the renowed tannoy Autograph.

A 15" Dual Concentric drive unit is coupled to a straight axis horn at the front and to a long folded horn at the rear. The advantages of the system are as follows; Low frequencies, i.e. below 300 Hz are reproduced by a much larger radiating wavefront loudspeakers. the quality of low frequencies as perceived by a listener are more realistic since low frequency sound radiations in musical instruments, etc., are also generated by large radiating wavefronts. For example, timpani, contrabass, organ pipes (32 ft. 16 ft.) producing low frequencies naturally, all have a basic wavefront generating area much larger than even a 15-inch (380 mm) direct radiating loudspeaker system. The radiating area of the rear folded horn in the Westminster loudspeaker is over 2,5 times that of a 15 inch loudspeaker and therefore much more comparable to the original instruments. The quality of low frequency reproduction is therefore improved. The efficiency of the system, used in the Westminster is approximately 8 dB greater than conventional direct radiating systems using a 15-inch drive unit. A fundamental consequence of the increase in efficiency is a lower distortion content when operated at normal domestic sound levels. A further consequence of high efficiency is of course that the power amplifier is under much less stress when reproducing high peak transient sound levels typical of wide dynamic range digital recordings. The air load matching between drive unit and listening environment is improved by the use of compound horn techniques, therefore the drive unit is much less highly stressed in reproducing peak transient levels. The thermal dissipation in the voice coil is reduced resulting in a more linear conversion of quiet and loud passages, i.e., the true dynamic range of the programme material is retained.

Using conventional separate bass and treble units with a rear folded horn would result in an extremely large and cumbersome cabinet. The tannoy Dual Concentric drive unit has separate high and low frequency drivers within a common chassis. Integration of the drive unit and horn loading systems with the cabinet is therefore more effective and the physical size of the cabinet reduced.

In the Dual Concentric drive unit a single chassis carries both a direct radiating low frequency driver and, mounted behind and on the same axis, an HF compression driver.

When used in the Westminster with a time compensated crossover network, a single point sound source is provided for frequencies from which the listener can re-create stereo images. The result is a much clearer, more accurate stereophonic effect. Lowe frequencies which do not affect stereo imagery are reproduced through the rear folded horn.

The resulting sound quality available from the Westminster produces a sense of reality and presence which is simply not provided by any more conventional loudspeaker system.

The finishing touch to this fine loudspeaker is provided by the superbly finished cabinet, combining solid walnut mouldings and real walnut veneers with discrete oatmeal grille cloth. The centre grille is removable with a key for access to the HF response controls.

1. The compound horn construction shown in diagrammatical form with the rear horn straightened out for clarity.

2. Perspective view of Westminster cabinet showing the internal construction of the rear horn. Arrows show the direction of radiation from the drive units.

Specifications

Power Rating:  120 W RMS, 300 W Peak

Amp. Rating:  50 to 200 W RMS per channel (8 Ω)

Sensitivity:  96 dB (for 1 W at 1 m)

Maximum SPL:

117 dB at 1 m for 120 W

123 dB at 1 m for 500 W peak

Impedance:  8 Ω  (Nominal) 5,5 Ω  (Minimum)

Frequency vs SPL:  18 Hz - 20 kHz

Phase Response:  80 Hz - 10 kHz ±12° 

Time Compensation:  less than  ±10 µsec (80 Hz - 10 kHz)

Dispersion:  60°  incl. ang. Horizontal - Vertical at -6 dB at 10 kHz

Crossover Frequencies:  1 kHz electrical, 300 Hz acoustical

Crossover Control:  

±6 dB over 1 kHz to 20 kHz shelving

+3 dB to -6 dB per octave over 5 kHz to 20 kHz slope

Crossover Type:  Passive, Low loss, Time comp. type 1027

Driver Type:  Dual Concentric, High Compliance type 3839/W

Distortion

Less than 2% third harm, at half-power, 80 Hz - 20 kHz 

for 90 dB SPL less than  0,3% third harm, 50 Hz - 20 kHz 

for 110 dB SPL less than  1m4% third harm. 80 Hz - 20 kHz 

for 113 dB SPL less than  3,0% third harm. 80 Hz - 20 kHz 

Low Frequency Direct Radiator

Nominal Diameter:  380 mm (15")

Voice Coil Diameter:  52 mm (2")

Free Air Resonance:  22 Hz 

Total Q:  0,18

High Frequency Direct Radiator

Diaphragm Diameter:  51 mm (2")

Voice Coil Diameter:  51 mm (2")

Horn Lower Cut off Frequency:  250 Hz 

Enclosure Type:  Compound Horn

Rear Folded Horn:

Total Length = 3 m (10 feet)

Throat Area = 0,03m2 (49 sq in)

Mouth Area = 0,4m2 (620 sq in)

Flare Constant = 0,85 (exponential)

Front Horn

Total Length = 0,15 m (6 in)

Throat Area = 0,075m2 (116 sq in)

Mouth Area = 0,31m2 (480 sq in)

Flare Constant = 9,7

Enclosure Volume:  521 litres

Enclosure Dimensions (H x W x D):  1300 x 1030 x 631 mm

Enclosure Weight:  115 kg complete

packed Dimensions (H x W X D):  1500 x 1100 x 7200 mm

Packed Weight:  140 kg

Enclosure material:  Solid walnut with 25 mm particle board

Grille Material:  Specially woven cloth over wood frame with lock and key fixing

 

Kenwood KA-9100 amplifier

Independent Dual Power Supplies for Both Channels and a Separate Preamplifier Power Supply

Obviously, no stereo imaging can be true unless there is complete channel separation. And one of the drawbacks of conventional amplifiers is that a single power supply creates Dynamic Crosstalk Distortion - a fact first discovered by our own engineers. This form of distortion had been overlooked in conventional measuring methods, which reveal static, rather than dynamic distortion. Following this important discovery, Kenwood's engineers re-designed the power supply into two totally independent supply systems, each with a large separate power transformer, and four large 12,000 µF electrolytic capacitors. A transistorized voltage regulator reduces interference between stages. But not content with this, they also designed a separate power supply for the preamplifier stage to suppress interference between the power amplifier and preamplifier in the same channel. You could, in fact, call this a "three-power supply system"/ the effect is that Dynamic Crosstalk Distortion has been virtually eliminated. Transient response is much improved. Excellent damping yields crisp and accurate sound. And so reproduced sound - particularly in the bass frequencies - is wonderfully rich and clear.

Direct-Coupled Equalizer Section Realizes very High Signal-to-Noise-Ratio:

An exceptionally high 83 dB Signal-to-Noise-Ratio (IHF-A curve) for Phono 1 & 2 is the result of a well designed, three-stage, direct-coupled ICL equalizer section, using FETs. Both phase and transient response are excellent, and distortion is low over a very wide range. Moreover, the use of the Gain selector at the +10 dB position allows a high 73 dB Signal-to-Noise-Ratio: for phono 0,8 mV sensitivity. The maximum phono input level for Phono 1 is a high 250 mV RMS, so there's no danger of overloading when you're playing musical passages of exceptional dynamic range.

Sophisticated Tone Control Give You Real Mastery Over Your Sound

Kenwood's concern for musical purity has given top priority to tone controls, so an elaborate system has been devised to suit all individual listening conditions and needs. BAXANDALL negative feedback low distortion tone controls give you the advantage of great precision and enormous flexibility for adjustment. The control range is 17,5 dB, in 1,5 dB click0stop steps. There are two selectable turnover points, 400 Hz for bass and 3 kHz for treble. These let you precisely compensate for your room characteristics. Moreover, the tone defeat is not simply a tone-out switch, but a true bypassing circuit, so that distortion and channel crosstalk are eliminated and tonal quality retains its excellence.

Two Steep Slope Filters

Here again, a bypassing defeat circuit is used to minimize distortion. These two filters have a characteristic steep slope of 12 dB/oct, allowing the music to pass freely while cutting out interference. There is a high filter with a cut-off point of 8 kHz, and a subsonic filter with a cut-off point of 18 Hz. High frequency noises such as record scratch, and low or subsonic influence generated by record warp or turntable rumble are effectively eliminated.

Unique tape-Through Circuitry

Kenwood's versatile tape circuitry permits simultaneous recording of two tape decks, and monitoring of both. There's also inter-tape dubbing both ways. And there's our now familiar tape-through facility that lets you listen to a different source while recording or dubbing takes place.

The Simpler The Circuitry The Better The Sound

Many circuitry design improvements have been made to enhance tonal quality. Some of them are major developments such as our DC power amplifier and dual power supplies, developed at our laboratories. With a full ICL (Input Capacitor-less) system, ICL circuitry is used in both the crucial equalizer and tone control sections. For all these circuits, inputs are directly connected to the unit without having to pass through input capacitors which produce distortion. Moreover, if you look inside the KA-9100 you'll probably be surprised at how "clean" it looks. This is not just cosmetic treatment, however. We know that there are clear-cut audio advantages in reducing wiring, and by making direct connections to the printed circuit boards. The more wiring there is, the more chance for hum and noise and various kinds of distortion that affect the sound. One example is the speaker selector. Instead of long wiring leading to the back panel and picking up noise on the way, there's a long shaft, and the actual selector is next to the speaker terminals. There are many other examples of this wire elimination to be seen, all contributing towards the refinement of that special Kenwood tonal quality.

Professional, Full-Scale Attenuator Type Volume Control With Gain Control

The dual combination of a tree-step (+10db, 0, -10 dB) Gain control and full-scale attenuator type 32-step volume control provides you with highly accurate volume attenuation. This means that the entire audible range is increased or reduced logarithmically. Your sound, even at low levels, remains naturally balanced. The Gain control also is highly useful when using tape decks and turntables which need some compensation for sensitivity low throughout the attenuation range. As you can see on the back page, other comparable models rarely maintain this low residual noise level over the whole volume range.

Two-Step Loudness Control

This loudness selector boosts the low range frequencies below two levels, giving you more control over which levels need more boosting. At -30 dB volume level, a 10 dB boost is made at 100 Hz or 30 Hz. You'll find this gives your ear the necessary compensation when listening at very low volume.

Pre-Out and Power-In Terminals

A thoughtful feature for the more professionally minded in the selector that allows the DC power amplifier and full ICL control amplifier to be used separately for multi-amp hi-fi systems.

Twin Power meters

These days, audiophiles are interested in every aspect of their components, and such features as accurate power monitors are essential. Kenwood's power meters are of a logarithmic compression type with two selectable ranges: 0,01W - 100 W and 0,01W -0,3W (for low level monitoring).

Specifications

Power Amplifier Section

Power Output:  90 watts per channel, minimum RMS, at 8 Ω. From 20 Hz to 20 kHz with no more than 0,03% Total harmonic Distortion:

Both Channel Driven :

95 + 95 watts (8 Ω) at 1,000 Hz

110 + 110 watts (4 Ω) at 1,000 Hz

Dynamic Power Output:  470 watts (4 Ω)

Total harmonic Distortion:

0,03% at rated power into 8 Ω

0,01% at 1 watt into 8 Ω

Intermodulation Distortion (60 Hz : 7 kHz  = 4 : 1)

0,03% at rated power into 8 Ω

0,01% at 1 watt into 8 Ω

Power bandwidth:  5 Hz to 60,000 Hz

Frequency Response:  DC to 100,000 Hz +0 dB. -1 dB

Signal-to-Noise-Ratio:  115 dB (short circuited)

Damping Factor:  50 at 8 Ω

Input Sensitivity/Impedance:  1,0 V/ 50 kΩ

Speaker Impedance:  4 Ω to 16 Ω 

Pre-Amplifier Section

Input Sensitivity/Impedance

Phono 1 :  2,5 mV/50 kΩ 

Phono 2 :  2,5 mV/50 k Ω 

Tuner :  150 mV/50 kΩ 

Aux :  150 mV/50 k Ω 

Tape A, B :  150 mV/50 kΩ 

Signal-to-Noise-Ratio:

Phono 1 :  83 dB 

Phono 2 :  83 dB 

Tuner :  100 db

Aux :  100 dB 

Tape A, B :  100 dB

Maximum Input level Phono 1 :  250 mV 9rms) T.h.d 0,03% at 1,000 Hz

Output/ Level Impedance

Tape Rec (pin) :  150 mV/450 Ω

Tape Rec (DIN) :  30 mV/80 k Ω

Pre Out :  1 V/330 Ω

Frequency Response:

Phono :  RIAA standard curve +0,2 dB, -0,2 dB

Aux. Tape :  7 Hz - 50 kHz +0 dB, -1 dB

Tone Control 

Bass ;  ±7,5 dB at 100 Hz (turnover at 400 Hz)

Treble :  ±7,5 dB at 10 kHz (turnover at 3 kHz)

Loudness Control (-30 dB):  +10 dB at 100 Hz; +10 dB at 30 Hz

Subsonic Filter:  18 Hz. 12 dB/oct.

High Filter ;  8 kHz, 12 dB/oct.

General

AC Outlets:  2 switched, 1 unswitched

Power Consumption:  660 watts at full power

Dimensions (W x H x D):  430 x 149 x 384 mm (16-15/16" x 5-7/8" x 15-1/8")

Weight (net):  16,7 kg (36,8 lbs)

AKG K-240 headphones

 AKG K-240

Among AKG patents, none is more significant than the Passive Diaphragms found in K-240 (K-340, K-3) models. Mounted within each earpiece, they perform two distinct functions when activated by sound waves. – They are acoustically transparent above 200 Hz, and one listens in a virtually “free field”. Unwanted mid- and high-frequency peaks and valleys of conventional circumaural (closed) headphones are eliminated. Sound enters the ear in a “normal” manner as in supra-aural (open) headphones. –Below 200 Hz, combined with acoustical “screens”, they form a controlled, damped vent to flatten out any bass peaks, thus eliminating boominess common in most circumaural headphones, and extends linear response lower than would otherwise be possible in supra-aural headphones. The result is pure listening pleasure, you hear tone gradations often lost in loudspeakers or in the listening room environment.

The Complete Free-Field Headphone

The K-240 is the first totally sound and comfort engineered headphone incorporating all the features necessary for complete listening enjoyment; accurate stereo imagery, outstanding fidelity of reproduction at all listening levels, extreme comfort with virtually no fatigue under prolonged use, and uncomplicated ease of use.

The Passive Diaphragms

in the K-240, the compliance of the passive diaphragms, combined with acoustical resistances, forms a controlled, highly damped vent to counteract and flatten out the resonant peak. This eliminates boominess down to a lower frequency than would otherwise be possible

The K-240’s unusual construction improves wearing comfort, reduces weight, and totally eliminates annoying user adjustments. Its soft, perforated support band shapes easily to the head and simultaneously self-positions the headphone driver elements comfortably on the ears. At the same time, AKG’s exclusive Cardan (universal-joint gimbal) earpieces automatically, independently, and correctly self adjust to each ear for optimum listening contact.

K-240 utilizes Passive Diaphragms and acoustic “screens” for controlled response and “free field” realism. Dynamic transducers provide accurate reproduction and high output. Universal gimbal (cardan) suspension for each earpiece with self-adjusting headband is comfortable to wear over long periods. Favourite of recording and broadcast studios.

Common to all AKG headphone designs, the circumaural K-240 possesses outstanding features which increase wearing comfort, fit and flexibility of the headphone. Unique self-adjusting headband and cardan-swivels locate the earpieces precisely and accurately regardless of head or ear shape, long-term wearer fatigue is eliminated. Weight is distributed uniformly over wide headbands. In environments where noise could be a problem, circumaural headphones are an ideal selection. And remember, the patented “Passive Diaphragms” yield qualities equal to the most natural listening environment.

Specifications:

Operating Principle:  Dynamic moving coil

Frequency Range:  15 – 20,000 Hz

Sound Pressure Level  (thd 1,0%)

108 dB (at 100 – 2,000 Hz)

112 dB (at 1,000 Hz)

Sensitivity:  20 µb/V

Normal Listening-Level Requirements:  0,5 V (0,4 mW) for 94 dB SPL (=10 uv b)

IHF Sensitivity:  4V (27 mW) for 112 dB SPL (=80 µb)

Nominal Impedance:  600 ohm per system

Maximum Continuous  Input:  11 V (200 mW) =121 dB SPL (per channel)

Total harmonic Distortion:  (at 95 dB SPL):  0,3%

Weight:  224 g (7,9 oz) without cable

Cable Length:  3 m (10 ft) ¼ inch phono plug

Audio Technica AT-701 headphones

 Products of one of the world’s best equipped laboratories for the development of audio and acoustic devices, Audio-Technica headphones bring entirely new levels of reproduction quality and listening enjoyment to the headphone user. Beginning with the acoustic fundamentals, Audio-Technics engineers have brought refreshingly new insights into every aspect of headphone performance.

It is important at the beginning to understand that the design of most conventional headphones is fundamentally incorrect. Most headphones seem to be designed first from a visual standpoint. They are provided with large, impressive ear cups and elaborate-looking headbands. The result is considerable unnecessary weight, an extreme sense of discomfort after only short listening intervals and, most importantly, an unnatural, highly colored sound. The large impressive-appearing ear cups, alas, contribute to severe resonant peaks in frequency response and closed-in-effect.

Audio-Technica headphones are dramatically different from conventional  headphone designs. First, much attention has been paid to keeping total weight extremely low. Likewise the headband is designed to keep the earphones securely in place, yet imparting a minimum of pressure to the head. As a result, Audio-Technica headphones may be worn in complete comfort for any desired period of time.

The acoustic properties of Audio-Technica headphones are likewise highly advanced. The diaphragms are bi-polar radiators. The ear cup provides no restriction to the free movement of the diaphragm; there is no trapped volume of air behind the diaphragm. As a result, higher diaphragm velocities are attained, providing improved transient response and reduced distortion. An “open” feeling is immediately experienced when listening to this type of headphone making conventional, closed-back headphones seem closed-up by comparison. Ambient noise is reduced, permitting complete involvement with the program material, yet the listener is never totally out of contact with the outside world.

Audio-Technica headphones may be used with any standard amplifier or receiver, and dynamic models are provided a convenient coiled cord. Ear pads may be detached readily for replacement if desired.

Model AT-701 Dynamic

Unusually Flat, wide-range response is provided in a model AT-701, also employed a dynamic driver unit of 47 mm diameter. The non-resonant, thermos-formed, polymer diaphragm material offers both stiffness and extremely low mass. Copper plated aluminium wire is used for the voice coil, for minimum mass and excellent electrical characteristics.

Specifications

Frequency Response:  30 – 20,000 Hz

Impedance:  4 – 16 ohms

Sensitivity:  97 dB ±2dB/mW at 1 kHz 

weight:  6,3 oz

Yamaha A-520 amplifier

Yamaha A-520 amplifier

Rec Out Selector with Tape Copy Function

The Yamaha Rec Out Selector is another extremely useful feature which greatly extends the source control capability of the A-520. It allows you to record one source, selected by the Rec Out Selector, while monitoring another completely independent source selected by a front panel input selector. And the Rec Out Selector also allows you to copy tapes between the two tape inputs, in either direction, eliminating the need for complicated re-connections when dubbing tapes between two decks.

Accessory Output Loop

The growing use of graphic equalizers and sound processors in an audio system presents the need for extra connection capability, and a simpler way to make the right connections. The A-520 is prepared for this need with a rear panel accessory output loop. Serving the same role as a tape loop which would otherwise have to be used, it routes a line level signal out to an external graphic equalizer or sound processor and back in to the amplifier. This frees both existing tape loops provided on the amplifier for their intended purpose, and allows easy connection of an external component without interfering with existing rear panel input/output connections.

Heavy Duty Speaker Connection Terminals

the rear panel speaker connection terminals on the A-520 are specially designed to accept speaker cable of maximum thickness with a simple, solid connection. This allows the use of the heaviest gauge speaker cable for maximum signal transmission purity without having to cut or squeeze the cables in, and provides a solid electrical connection that can’t be pulled out. Normal gauge speaker cables can also be used with the same terminals.

Center Defeat Bass and Treble Tone Control

The  bass and treble controls provided on A-520 are specially designed with a center defeat position. When set to their center positions, tone control response is perfectly flat, with no influence on the original signal. When tuned for either a boost or cut, they provide smooth, accurate response over a conveniently wide range.

Subsonic Filter

A  switchable subsonic filter is provided on the A-520 front panel, allowing you to filter subsonic frequency content such as turntable rumble out of the signal, thereby protecting both amp and speakers and preventing needless power drain.

Independent Speaker A/B Selectors

The  A-520 provide rear panel connectors and front panel selectors for two separate pairs of speakers. They can be driven independently or simultaneously, allowing you to drive two remotely located speaker pairs together, or to drive a dual speaker pair setup in a single listening environment, for more listening flexibility.

Specifications

Minimum RMS Output Power per Channel:  75 Watts (8 ohm) from 20 to 20,000 Hz at no more than 0,01% thd

Dynamic Power per Channel (IHF) :  97 W (8 ohm), 169 W (4 ohm), 160 W (2 ohm)

Power Bandwidth (Half Rated Power, 8 ohm):  10 to 50,000 Hz  (0,03% THD)

Damping Factor (1 kHz, 8 ohm):  no more than 50

Input Sensitivity/Impedance

Phono MC :  160 µV /220 ohm

Phono MM :  2,5 mV /47 k ohmn

CD, Video, Tape :  150 mV/47 k ohm

Maximum Input Level

Phono MC :  10 mV (0,01% THD)

Phono MM :  150 mV (0,01% THD)

Output Level /Impedance

Rec Out :  150 mV/470 ohm

Headphone Jack Rated Output/Impedance (8 ohm):  0,7 V (0,01% THD)/270 ohm

Frequency Response: 

CD, Video, Tape :  20 to 20,000 Hz +0dB -0,5 dB

RIAA Equalization Deviation (20 to 20,000 Hz)

Phono MC RIAA :  ± 0,3 dB 

Phono MM RIAA :  ± 0,2 dB 

Total harmonic Distortion: 

Phono MC to Rec Out (3 V) :  0,007%

Phono MM to Rec Out (3 V) :  0,003%

CD, Video, Tape  to Sp Out :  0,005%

Intermodulation Distortion (8 ohm)

CD, Video, Tape :  0,005% (1 W), 0,01% (half Rated Power)

Signal-to-Noise-Ratio:  (IHF-A Network)

Phono MC (500 µV  input Shorted) :  75 dB 

Phono MM (5 mV  input Shorted) :  92 dB 

CD, Video, Tape (input Shorted) :  100 dB 

Signal-to-Noise-Ratio:  (new IHF)

Phono MC (500 µV  input Shorted) :  74 dB 

Phono MM (5 mV  input Shorted) :  78 dB 

CD, Video, Tape (input Shorted) :  84 dB 

Tone Controls

Bass Boost/Cut :  ± 10 dB at 20 Hz

Turnover Frequency :  350 Hz 

Treble Boost/Cut :  ± 10 dB at 20 kHz

Turnover Frequency :  3,5 kHz

Loudness Control (Level Related Equalization):  -40 dB

Dimensions (W x H x D):  435 x 136 x 338 mm (17-1/8” x 5-3/8” x 13-3/8”)

Weight:  7,5 kg (16 lbs 8 oz)

 

Focal Chorus 806V speakers

For Focal, Chorus symbolizes one of the most stimulating challenges for the loudspeaker and refined product manufacturer that we are: to allow the greatest number of consumers to access our technological innovations. For the first two generations Chorus (2000) and Chorus S (2003), the objective was to conserve a hi-end sound and maintain sophisticated Focal technologies by adapting our industrial machine to the highest standards. While outsourcing had become a key economic strategy for the majority of manufacturers, we chose on the contrary to heavily invest in our manufacturing process in order to achieve an exceptional sound quality while at the same time remaining competitive. It is the only possible way in this path of permanent innovation: development and manufacturing of loudspeakers ”Made in France”, design by cabinet-makers, mastery of quality, total autonomy in the design and development of our products. This strategy has been key to the success of the preceding Chorus lines.

This third generation known as Chorus 800 V will go even further in this strategy. Technological innovation does not only solely touch strategic components of the speaker, but the actual whole of the design. Thanks to the use of advanced and exclusive materials, elaborate manufacturing techniques of the cabinets, the Chorus 800 V line of today shines with a unique, hi-end esthetic. Chorus V isn’t only a performing product line, ideal for entering the Focal universe, but objects that will inhabit living spaces, with an innovative esthetic, quality of manufacture and a finish worthy of a higher segment. This is indeed a new esthetic dimension, a new era for the ”Spirit of Sound”.

 

Neutral and balanced, the Chorus 806 V seduces by the richness of its upper midrange and the speed of its bass. An entirely refined speaker, ideal to play in rooms under 20 m2 without any limits. And easily larger spaces if it is combined with SW 800 V.

 

Specifications

Type:  2-way bass-reflex bookshelf speaker

Drivers:

Low Frequency:  165 mm (6-1/2") Polyglass mid-bass

High Frequency:  25 mm (1") TNV AL/Mg Inverted dome tweeter

Frequency Response:  55 Hz - 28 kHz (±3 dB)

Low Frequency Point:  77 Hz (-6 dB)

Sensitivity:  90 dB (2.83 V/1 m)

Nominal Impedance:  8 Ω 

Minimum Impedance:  3,6 Ω 

Crossover Frequency:  3,000 Hz

Recommended Amplifier Power:  25 - 120 W

Dimensions (HxWxD):  390 x222 x 293 mm (15-3/8" x 8-3/4" x 11-9/16")

Net Weight:  8,2 kg  (18 lbs)

 

Focal Chorus 705V speakers

Since the year 2000, the different generations of the Chorus line have benefited from this approach, as we produced speakers that cost less and performed better. To achieve this goal, we invested massively in a superior method to speaker manufacturing, where intelligent machining and precise handwork were absolutely necessary.

It was the only possible way in this drive for quality and competitiveness: development and manufacturing of French-made loudspeakers, design of the cabinets, quality control, a total autonomy in the development and design of our own products. This method allows us to innovate, to entirely and independently turn ideas into reality, to place patents internationally, and have the means to anticipate trends. And finally, to progress.

The third generation, Chorus 700 V, goes even further. A direct descendant of the Chorus 800 V line of which it heavily borrows technical elements (except Power flow) yet with a more Amati traditional finish, Chorus 700 V invites you in to the Focal universe. The build quality and high-end finishing work are entirely unknown in this price-range.

 

Chorus 705 V is the ideal loudspeaker for installation in rooms of modest dimensions (approximately 15 m²). With a responsive and lively bass, it represents the foundations of a great system, especially when paired with the SW 700 V subwoofer.

 

Specifications

Type:  2-way bass-reflex bookshelf speaker, wall mounting.

Drivers:

Low Frequency:  140 mm (5") Polyglass midbass

High Frequency:  25 mm (1") TNV AL./Mg Inverted dome tweeter

Frequency Response:  65 Hz - 28 kHz (±3 dB)

Low Frequency Point:  57 Hz (-6 dB)

Sensitivity:  89 dB (2.83 V/1 m)

Nominal Impedance:  8 Ω 

Minimum Impedance:  3 Ω 

Crossover Frequency:  3,000 Hz

Recommended Amplifier Power:  25 - 100 W

Dimensions (HxWxD):  315 x192 x 248 mm (12-3/8" x 7-9/16" x 9-3/4")

Net Weight:  5,7 kg  (12,5 lbs)

Apogee Acoustics Centaur Minor loudspeakers

The Centaur Minor was Apogee's first and smallest ribbon hybrid when it was released in 1991. Also the cheapest yet Apogee at £1150 in the UK, and a similar price in $'s in the US.

At 100 cm tall, 35 cm wide and 22 cm deep, its footprint is no bigger than a stand mounted mini-monitor speaker.

The 26" (6 element) etched ribbon tweeter is the same version which is used in the later model of the Stage. The 6.5" dynamic cone woofer is in a long rectangular enclosure set towards the outside of the speaker so the dipole ribbon fires into 'free air'. It is positioned at a height which is the mid-point of the ribbon tweeter, it can just be seen behind the (hard to remove) grill.

 

Specifications

Bass :  6.5" Dynamic cone

Midrange :  26" Aluminium/Kapton ribbon (etched 6 segment)

Max. Sound Level:  107 dB

Sensitivity (at 3 m):  85 dB

Frequency Response:  40 Hz - 20,000 Hz  (-3dB)

Recommended Amplifier Power:  50 W (8 Ω  load)

Crossover Frequency:  800 Hz

Nominal Impedance:  6 Ω  (4 Ω  minimum)

Dimensions)H x W x D): 1000 x 350 x 220 mm

Weight:  52 lbs each

Finishes Available:  Silver grey

 

Apogee Acoustics Centaur Major loudspeakers

The Centaur range was the first hybrid speakers range from Apogee, the Centaur Major being biggest model.

Using a 10" dynamic woofer and a 40" ribbon tweeter the Major stands 163cm tall, 46cm wide and a total depth of 30cm.

The enclosure for the woofer is approximately 107cm high, 28cm wide and deep. The tweeter ribbons are on the inside edge of each speaker and like all Apogee's work as a dipole.

The speakers are nearly as room dominating as the Duetta Signatures, with only the width being significantly smaller, and require nearly as much free space around them.

Although they will work with smaller amps, they justify being fed by a high quality, high current amp.

 

Specifications

Bass :  10" Dynamic cone

Midrange :  40" Aluminium/Kapton ribbon (etched 5 segment)

Max. Sound Level:  110 dB

Sensitivity (at 3 m):  83 dB

Frequency Response:  30 Hz - 20,000 Hz  (-3dB)

Recommended Amplifier Power:  100 W (8 Ω  load)

Crossover Frequency:  450 Hz

Nominal Impedance:  6 Ω  (3,5 Ω  minimum)

Dimensions)H x W x D): 1630 x 460 x 300 mm

Weight:  100 lbs each

Finishes Available:  Rosewood, walnut, oak and mahogany or silver grey